Search: Starring Julianne Moore

It’s all watchable enough if lacking real dramatic tension.

The performances are rapier sharp

Newcomer María Mercedes Coroy is a standout, even within this accomplished cast.

Nobody plays lazy like Jeff Bridges. You could say he was born to it. Or rather, he's such a good actor he makes it look as natural as an unmade bed.

A bold piece of film-making that's daring, dramatic and different - even if it won't be to everyone's taste.

Without the murky melodrama of the original, this new Carrie is reduced to the sort of thing you could actually show in high school.

This is a film that takes no prisoners. It will live long in the memory.

Once - and if - you accept that this is a B-movie plot, it is possible to find a level of enjoyment from its undeniably A-movie trappings.

The 'love' on offer in this romcom that marks yet another notch of disappointment on Steve Carrell's career is neither crazy nor stupid, just cynical and schmaltzy by turns.

Altman has chosen the perfect cast.

Eisenberg’s obvious love of amateur dramatics provides The Debut with a foundation that feels akin to a warm hug.

Despite the seemingly grim subject matter, Gordon-Levitt goes the upbeat route with his debut feature.

Julianne Moore, as Sarah Miles, is a revelation.

Moore's performance is heart-stoppingly wonderful.

Freedomland attempts to touch as many storytelling bases... as possible and misses the respective targets by miles.

The beats of Hester's conflict with the freeholders are hit but they lack emotional depth.

An odd mixture of psychological thriller and sci-fi gobbledegook.

At heart (and it has a big one) there's a lot going for Gloria Bell.

This is played for laughs, which gives Anthony Hopkins's performance an odd Hammer horror feel to it.

It would be difficult to overestimate the quality of this film.

Jennifer Lawrence's expressions stretch from worried to confused

The plot stutters into absurdity

A whip-smart, often very funny family drama, presenting observations on domestic life that are all too uncomfortably recognisable.

In contrast to the stylised visual repertoire, The Golden Circle’s storyline is led by dolefully shallow plot twists and resolutions.

Director Rebecca Miller gets terrific performances out of an admittedly terrific cast.

Moore gives a frank and funny portrayal of female status at a certain age in the Dream Factory.

Sentimentality is already dead. Irony lives! And coincidence is king.

The balance held between creepiness and fascination, sheer fun and lingering disturbance is held throughout.

Next is never entirely sure how far to go...a waste of an great idea.

It rocks the chocks and never allows tension to slacken for a second

Wry, funny and emotionally-charged.

In remake heaven, where all clones meet, the only question is 'Why?'

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

Always engrossing, at times decidedly uncomfortable viewing, Savage Grace is accomplished cinematic storytelling that will stay with you long after the credits have rolled.

The screenwriter's approach to story seems to have prioritised quantity over quality. It's an attempt to dazzle the audience, throwing in so many twists that it might be hoped we don't notice how predictable most of them are or how little sense they make.

Spacey gives a remarkable performance.

Firth produces a subtle and deeply moving performance.

Moore runs away with the film.

The forced 'joke to serious point to joke' dialogue is painful and too unnatural to be credible.

This creative and visually arresting adaptation of Brian Selznick’s critically acclaimed novel marks a filmmaker at the top of his game.

Directed with wit and panache by Scott McGehee and David Siegel, written by Carroll Cartwright and Nancy Doyne, Maisie stays true to Henry James's two-part essence.